

























ART 


ERUVIAN 















4 435 


1ELP FOR STUDENTS OF DESIGN 











ye 2 
* 
welt ‘ . 

























































































































































Ce ment ? 
o = — ~s a th Wed em 
. RRS «oe ee pen 
— wh Son 
& Sh me SS ~ 
este os Perr ae oe 
X 4 Shans 
= = DEERE i Cem 
ako fa oad So = 
Sr 
ro - “Prams 
~~. Sar 
Deen ; 
as er les 
parmhacn eran gents, < — de 
oe 
a ete = RRS 
bos . 
eter Ae eS ene SST. Caer 
mestreny 2! BS 
oe 
mecca ants 
Sanya) 
Be Shots 
Saisisba ys soovvsaes e>| 
athe me et NERS RC 
Sy TN, — 
a pee ee teag’ Ol ” 
= meighieilalns-« al sd, SRE der Le 
meade aS Wea 
* rion Say. ERASE 
: DY Strertarcsnncs 
Re Se Sermons 
6 Gece trae (OED Sar BF encticctatine 
eo eee er“ aeaake- > 
r a3 ROE 
nd ~ 9 i 
oe x 
é cs <8 
: erie wat 
Bieotyren fear : 3 
_ a 
= outs? 
be 
‘ if pareeeneyy « — 
ft Sine i ~ 
— : ; 
Ray =. . 
enn nee oe ‘ : ‘ Ps 
neal q - is 
SNS : 
ge Pr aaa ¥ 
sige oh . 
ea ae 
Bess, = ee 
enced > ERT : ; F 
a & 2 Temi sine Fes ‘ ; 
- ene Ens 
= bree a ysis i aes = re : 
ir ; 
i 4 ; 
‘ : 3 % 4 
: o ani ero ‘ y 
eS. fee sain ye i A J 
hat eye eS yt ; 2 





No. 46e cs eat 


y 


_ MARCH, 1925 























- 
\ 
‘ . 
bs A 
‘ ‘ 














POTTERY VESSELS FROM NAZCA, PERU 


PERUVIAN ART 


AS SHOWN ON 


PE SHEES AND POTTERY 


BY 
CHARLES W. MEAD 











_ FOURTH, ENLARGED EDITION 


The American Museum of Natural History 


GUIDE LEAFLET No. 46 


NEW YORK, MARCH, 1925 
PRINTED AT THE MUSEUM 





“=e 





. 


o 
4 





PERUVIAN ART 


A HELP FOR STUDENTS OF DESIGN 
By CHARLES W. MEAD 
Assistant Curator, Department of Anthropology 





INTRODUCTION 


The Museum’s collections of textiles and pottery vessels from pre- 
historic graves in Peru provide an opportunity for the study of primitive 
art that is not excelled, if, indeed, it is equaled in any other field.. The 
great beauty of the color schemes and the wonderful number of curious 
conventionalized animal figures, especially in the textiles, make these 
exhibits particularly valuable to the student of design. That this 
opportunity exists and that the Museum authorities as a part of their 
educational system are providing all the assistance and comfort possible 
to visiting artists and students are fast becoming known, as shown by 
the fact that for quite a number of years an average of one hundred and 
fifty a month have availed themselves of this privilege, while during the 
last few years that number has been doubled. 

As a large part of the students of design who make use of these 
textiles expect later to obtain positions in textile houses, carpet, rug, or 
wall paper manufactories, or to enter into some other business where 
designers are employed, it will interest and encourage them to know that 
many textile houses have lately put upon the market silks and other 
materials decorated with designs inspired by the figures and color 
schemes of the prehistoric Peruvians. Our large textile manufacturers 
have, year after year, sent their best artists to Paris for designs, having 
no idea that such a wealth of material, eminently suitable for decora- 
tion, was waiting for them in the Museum so near at hand. 

In the past five years many of these textile manufacturers have 
visited the Museum and have become aware of the existence of these col- 
lections. Having once seen them they were by no means slow in recog- 
nizing their value and in sending their artists to copy the color schemes 
and create designs from the decorative figures of the ancient Peruvians. 
Having satisfied themselves of the commercial value of the Peruvian 
collections to them, they naturally began to look about for the decora- 
tive work of other primitive peoples and today their designers may be 
seen at work in many of the Museum halls. 


3 


AMERICAN MUSEUM GUIDE LEAFLET 


In a Guide Leaflet it will not be possible to go far in the peculiar art 
of the Peruvians, and but comparatively few of the innumerable designs 
can be shown. ‘Their color schemes, which excite the wonder and 
admiration of artists, must be seen on the original webs, but enough 
designs can be reproduced to show the general character of this side 
of their art. 

It always gives an added zest to the work when we know something 
about the material from which we are drawing and for this reason it will 
not be out of place to say a few words about the history of these cloths. 
They all come from prehistoric graves; many of them were found still on 
the mummies when the burial places were excavated. A greater part of 
them came from the coast region which is a desert tract except for the 
valleys of the small rivers rising in the Cordillera and flowing into the 
Pacific Ocean. These valleys were very fertile and there the people 
lived and buried their dead in the dry nitrous sand outside. Rain is 
all but unknown in this region, which accounts for the wonderful state 
of preservation in which these webs have come down to us. 

The first question that naturally suggests itself to the visitor is— 
How old are these things? This question cannot be definitely answered. 
All that can be said is that they antedate the Conquest (1532); that they 
belong to different epochs, and that the oldest in all probability date 
back several thousand years. In two papers published by the Museum, 
my associate, Mr. M. D. C. Crawford, has given the results of his studies 
in the technique of Peruvian textiles. To these anyone interested in 
that subject is referred.! | 

It is a very common mistake to speak of such a collection of Peruvian 
textiles as the work of the Incas, for by far the greater part of them were 
made by the so-called Megalithic people who ruled the country many 
centuries before the rise of the Inca empire. 

Four motives continually occur in Peruvian decorations: the human 
figure, the bird, the fish, and the puma. These were everywhere em- 
ployed throughout the country in designs which varied somewhat in the 
different localities, showing that their arts had developed along slightly 
different lines. 

In studying the designs more space will be given to the figures de- 
rived from the fish than to those from the other motives. The reason 





1Anthropological Papers of the American Museum of Natural History, Vol. 12, 
Parts 3-4. : 


4 


PERUVIAN ART 


for this is that the designs from the other three motives very rarely show 
degeneration to the extent that their identity is not apparent, while 
many of the fish figures have progressed so far that to recognize the 
motive one must be familiar with some of the stages through which it had 
passed in reaching its present form. 

The writer does not wish to convey the idea that degeneration of any 
animal form constantly progressed, step by step, at every repetition 
losing a little more of its realistic appearance until its character could 
not be recognized. <A series of figures could be selected from the vast 
number at our command that would apparently show such progres- 
sion and this has often been done for the primitive art of other localities, 
but this method is very misleading, as the higher conventionalized forms 
were undoubtedly reached by mutations instead of steady progressions. 

Many of the sketches on the Plates of this Leaflet were made at 
various times during the past fifteen years for various papers, illustrated 
catalogue cards, and other purposes. Every design shown will be found 
in the exhibition cases in the South American Hall. 


mh 
With, 

a) 

PeaiMn, 


uur) 
y 4 


4 
Ina 


i 


oY @ 
AN 


) 


\as/, 

















MISCELLANEOUS PERUVIAN DESIGNS 
5 


PLATE I 


ago0g00 





THE FISH 


PERUVIAN ART 


THEY RISH 
PLaTE I 


The Peruvians of the coast region worshipped the sea as one of their 
gods, and the fish being the natural emblem of the sea, undoubtedly 
accounts for the frequency with which it appears in all their arts. We 
find it woven, embroidered, and painted on cloth; molded, incised, and 
painted on pottery; and represented in various ways on their works in 
metal, wood, stone, and bone. I shall show some of the conventionalized 
figures that plainly represent fish; others that I have found, during my 
long experience with art students, where the fish motive is very rarely 
suspected, and some intermediate figures that I believe will enable the 
student to recognize this motive in the higher forms of Peruvian art. 
The -first three figures on this Plate plainly represent fish, although 
degeneration has made considerable progress. They are shown as if 
seen from above, a common way of representing fish with many primitive 
peoples. 

Fig. 1 is painted on a large piece of cloth which formed the outer 
wrapping of amummy bundle from Surco. It is painted in black except 
the curved line representing the gill openings and the fins. The six 
small squares show the dorsal fin. 

Fig. 2 is a very common form, in fact the typical Peruvian fish. 
If we study carefully all the forms on Plates I and II we shall find that 
the greater part of them are but modifications of this figure. We shall 
find the number of points projecting from the sides more or less, or two 
fish derived from this form interlocked, as shown in Fig. 7. 

Fig. 3 is from the wrappings of a mummy bundle found in the 
vicinity of Lima. The lines representing gill openings are straight in 
this case. The characteristic projecting points from the sides are present. 

Fig. 4 is a design not uncommon in tapestry from the coast region in 
the vicinity of Lima. It consists of four fish heads, in colors, sur- 
rounding a fret. During the many years that design students have 
worked from these Peruvian collections, I do not remember a single case 
in which the fish motive was suspected in this figure until I had made it 
clear by drawing the forms shown in Figs. 5 and 6. The character 
of such a design when it is woven in the cloth, in a variety of colors, is 
by no means as easily recognized as when drawn on paper in black and 
white. 


PLATE II 
















ge Gai. 
One? 





THE FISH 


PERUVIAN ART 


Figs. 5-6. Fig. 5 is a tracing of the upper fish head in Fig. 4. Fig. 
6 was made from the same tracing, but in inking it, straight lines down 
from the mouth were substituted for the step-form ones of Fig. 5, and 
this gives us exactly the same head as seen in the fish form at Fig. 2. 
These step-form lines, caused by the technique of weaving, often dis- 
guise a form that would be obvious if the lines were straight. 

Fig. 7 shows the interlocked fish design, a form of decoration very 
common over most of the coast region, where it 1s found on borders of 
ponchos, belts, etc. In the poncho border from which this figure was 
taken the decoration is in diagonal bands, each band having two colors. 
The black fish shown is interlocked with one in red. The bands on either 
side are in different colors. A repetition of the same figure, but in 
different colors, arranged either in rows or, as in this illustration, in 
diagonal bands, is a prominent characteristic of Peruvian art. If we 
examine any one of these fish we find that such parts of it as can be 
seen when another is interlocked with it are like the typical one shown 
in Bic.. 2, 


FPHE FISH 
Puiate IT 


Fig. 1 gives us another form of the interlocked fish design. We see 
here attached to the tail of each fish a form bounded on one side by a 
straight line and on the other by a zigzag forming four chevrons or points. 
This added figure plays quite a part in Peruvian art, as we shall see 
when we come to discuss their bird forms. 

Fig. 2 was traced from the black fish above. If two forms like this 
are cut from paper, and one of them colored black, they will, on being 
put together, give the design shown. This form is often found and 
sometimes a bird head takes the place of the half of a fish head shown 
here. On turning back to Plate I and looking at the typical fish in Fig. 
2 we find that one is but a skeleton or part of the other. 

Fig. 3 is also a part of the design above, and is frequently used in 
decoration just as it is shown here. 

Fig. 4 is an example of their work in pyrography. This design was 
burned into the side of a gourd bowl. The figure spoken of before: one 
bounded on one side by a straight line and on the other by a zigzag, 
forms all but the head of this highly conventionalized fish. It varies 


9 


AMERICAN MUSEUM GUIDE LEAFLET 


but little from those shown in Figs. 3 and 6, and has the triangular head 
of Fig. 10. Triangular heads are very common in cloth and on pottery 
fish forms. 


Fig. 5 is another variation in the interlocked fish pattern. As the 
heads, tails, and crude outlines of the bodies of fish, as the Peruvians 
represented them, are shown, there has never been any trouble about 
identifying the true motive. 


Figs. 6 and 7 are in relief on pottery vessels. They show again the 
fondness of the Peruvians for the interlocked design. In Fig. 6 each 
fish is the same as Fig. 3, which has an extra projecting point. The 
number of points in the body of a fish or bird was governed entirely by 
the space to be filled up by the decoration. In Fig. 7 degeneration has 
not progressed as far as in most of the other figures and the motive is 
apparent. 


Figs. 8-10 are forms common on pottery vessels, sometimes painted, 
but oftener incised or in relief. 


Fig. 11 shows the designs on a tapestry belt. It is very common on 
the small bags that may have been used as charms. This fish head varies 
but slightly from that shown in Plate I, Fig. 4, and the means shown 
there of identification apply equally to this form and its many variants. 


Fig. 12 has been identified as the horse mackerel and is a fairly 
realistic representation of that fish. It is painted in several colors on a 
pottery vessel from Nazca. 


Fig. 13 is cut from a thin sheet of silver. Twenty of these fish are 
fastened on a cord in the form of a necklace. It comes from Ica, but 
such fish strung together or with beads were common in many places in 
the coast region. 


The forms shown in Figs. 14-16 represent the shark and are found 
both on cloth and on pottery vessels. 


Fig. 17 is in relief on a pottery vessel from Surco. It is a very 
common fish form over all the coast region. The original of this sketch 
is 9 em. long, and it is often seen very much larger both on cloth and 
pottery. 

Figs. 18-19 are from Nazca pottery. Each shows a horizontal line 
of white which in the first case completely separates the body into two 
unequal parts. Whether this represents the median line or was only a 
fancy of the artist must be left to guesswork. 


10 


PERUVIAN ART 


In Fig. 18 there is an idea for the design student. In the original 
the two parts are in different colors, with the line of white between them. 
This will suggest to the design student the breaking up of any of the 
other figures and using the parts so obtained in his work. 


THE BIRD 
Puate III 


Figs. 1-8 and 11 are from the coast region in the vicinity of Lima. 
Figs. 1-2 show the typical bird of Peruvian cloth. The heads and necks 
are fairly realistic. _The body consists of the form mentioned in the 
remarks on the interlocked fish design, Plate II, Fig. 1. As was said, 
this consists of a figure bounded on one side by a straight line, and on the 
other by a zigzag which forms chevrons or points. The number of points, 
or length of the body, depends entirely on the space to be decorated. 

Fig. 3. The head is more realistic than in the two preceding figures, 
but the body is represented in the same way. In the original the space 
between the head and the body is nearly filled by the head of a second 
bird, turned in the opposite direction, the two forming an interlocked 
bird design. 

Fig. 4 is from the border of a tapestry poncho, where the decoration 
consists of a long line of these birds. Each figure is woven in several 
colors, and they are so placed that two with the same color scheme do 
not come together. Note the exaggerated topknot projecting over the 
bird’s head. This device makes the whole figure nearly rectangular, 
and in a row of such designs little space will be left undecorated. 

Fig. 5 is painted on white cloth. The heavy outline is black, the 
body brown, and the eye and space between the mandibles were left 
white. 

Fig. 6. Here again the artist resorted to the same device as is 
shown in Fig. 4. He has used an exaggerated topknot to balance his 
designs and cover space. 

Fig. 7. In this case the wings have been carried over the head and 
made to serve as quite a part of the design. } 

Fig. 8 shows a common bird form in textiles. It will be seen that 
this is very closely related to the form in Fig. 2. If we substitute the 
legs in this for one of the points in the body of that one, we shall have 
practically the same design. 


11 


PLATE III 


a2 
Bie 


26 T.Ey 


ao, & 








FANT ALAS a 
we ans 


THE BIRD 


ith CVA Nes ht 


Fig. 9 represents a humming bird. <A row of these birds is painted 
around a pottery vessel from Nazca. They are all sucking honey from 
‘a six-pointed flower on the upper surface of the vessel. Only a part of 
this flower is shown in the sketch. 

Fig. 10 shows another bird on Nazca pottery. This, like the last 
described, is beautifully painted in colors. 

Fig. 11 is a pelican that has just caught a fish. This design is a part 
of the woven fabric. Similar figures are also found in relief on cloth. 
This is done by sewing on narrow pieces of braid. The fish in the bird’s 
mandibles is a conventionalized form, often seen both on cloth and 
pottery, especially where space only admits of a small figure. 

Fig. 12 shows birds from three Nazca pottery vessels. They are 
painted white on variously colored darker backgrounds. 

Fig. 13 shows the decorations on a piece of vicufia cloth, as it is 
commonly called, from Pachacamac. The warp threads are cotton, 
crossed by a weft of vicufia wool, which completely covers them. The 
ground color is a deep reddish-brown with the decoration in yellow. 
The effect produced is extremely pleasant and artistic and has made 
this textile one of the favorites of art students who have many times 
copied it in colors. It also affords a good example of the influence of 
basket work on the arts of these people. The lines bounded by zigzags 
are plainly copied from the work of the basket maker. The birds’ necks 
rise and depend from these basket designs. 

Fig. 14 is from a large shawl-like garment from Lachay, near Chan- 
cay. The color of this textile is indigo blue with the designs woven in 
white, in broad stripes. It is the interlocked bird design: the upper 
bird faces to the right, and the lower one to the left. If we study one 
of these birds we find in its neck and body the same form as is shown 
in Fig. 3. 


THE PUMA 
PLATE IV 


Fig. 1 shows the head of the puma in terra cotta. This form is only 
found in the art of Tiahuanaco. It seems to be the parent of the hun- 
dreds of conventionalized cat heads wherever the influence of Tia- 
huanaco art is found and especially at Pachacamac. The puma was 
one of the gods worshipped by the Peruvians, and the “‘ puma god,” part 
man and part puma, is often represented in the arts of the Tiahuanaco 
or Megalithic people. 

13 


PLATE IV 


i) 


So 





THE PUMA 


PHRUVIAN ART 


Fig. 2. The central figure on the monolithic gateway at Tiahuanaco 
is represented as wearing a belt with this form of puma head on either 
end of it. A great number of variants of this head are common to Tia- 
huanaco art and wherever its influence extended. 

Figs. 3-4 are plainly derived from the preceding figure. Fig. 3, from 
Pachacamac, has the ring nose. Fig. 4, from Nazca, has a step-form 
nose in place of the ring. There is a close similarity in the outlines of 
these figures. We shall find other variations on this head in Figs. 7, 
9, and 15. | 


Figs. 5-6. These two figures will show, to a person who has no 
knowledge of primitive art, one way in which animal figures degenerate. 
It would be very excusable if such a person did not recognize Fig. 6 as 
a great cat. In fact, a positive identification could not be made by 
anyone who had not seen the same form of the animal before the degen- 
eration had proceeded to the extent shown here. Now, looking at Fig. 5, 
we recognize that 1t shows the same animal in a more realistic form. It 
is still highly conventionalized, but the presence of the humped-up back, 
a characteristic of the cat family, and the tail, both omitted in Fig. 6, 
clearly identify it. To identify many highly conventionalized repre- 
sentations of animals in any primitive art, one must be long associated 
with large collections, which are seldom to be found except in museums. 
Only in this way can he become familiar with the peculiar art of a primi- 
tive people. He sees the animal forms represented with considerable 
truth to nature, and also a long succession of figures where, as it were, 
the original form is gradually fading away, until the degeneration has 
run its full course and left little more than a geometrical figure. 


Figs. 7-8. The Peruvians had a fondness for combining a number 
of animal heads in a design. Sometimes heads of the same animal, but 
often of two or more different kinds, were thus combined. Fig. 7 shows 
two puma heads joined by a curved band. The design is painted on a 
pottery vessel from Pachacamac. On account’of the form of the band 
that connects the heads, this figure has sometimes been mistaken for a 
representation of a serpent, but a comparison of one of the heads with 
the four puma heads on the line above will show its true character. 
Fig. 8, on a web from Ancon, has the typical cat heads connected by an 
angular band. 


Fig. 9 shows part of a human face engraved on a piece of a stone 
vessel from Tiahuanaco. One eye is represented with the facial decora- 


15 


AMERICAN MUSEUM GUIDE LEAFLET 


tion about it. The other eye is similarly decorated. The puma head 
below the eye plainly belongs to the same animal, as do those in Figs. 
2 and 3. 

Figs. 10 to 20 are from the coast region, within fifty miles of Lima. 

Figs. 10-11 are very common in tapestry. Both have the raised 
back, a characteristic of the cat family. 

Fig. 12 is another example of their fondness for joining animal forms 
together in a design. The two cats have the humped-up back in common. 

Fig. 13 is common on cloth, pottery, gourds, and on metal objects. 
A comparison of this figure with that in Fig. 6 shows a great similarity 
in the management of the legs. Doubtless some ancestor of this design 
has the raised back and tail that we have seen to have been the case 
with the other figure. : 

Fig. 141s from a piece of tapestry from Ancon. The most noticeable 
thing about this figure is the manner of representing the nose, eyes, and 
mouth. The technique of weaving seems to have been responsible for 
this form, as Hasluck shows the same device in a lion woven in a goat- 
hair carpet of the fifteenth century from Persia.1 Certainly no one will 
claim contact between the prehistoric Peruvians and Persians. 

Fig. 15. This design is taken from a coca bag from Pachacamac. 
It is in the style of Tiahuanaco. 

Fig. 16 is from a long belt or sash. It is the most highly conven- 
tionalized design on this Plate, but the characteristics of the cat family, 
the raised back and tail, are still present. 

Fig. 17 is painted on either end of a barrel-shaped vessel from Ica. 

Fig. 18 was taken from a textile from Ancon. The design is made 
up of cat and bird heads. Their fondness for joining different animals 
together in a design has been spoken of before. It is not uncommon 
to find birds, cats, and fish in the same design. 

Fig. 19 is from a gourd bowl from Marquez, near Lima. The design 
is burned into the side of the vessel. Pyrography was commonly used 
‘in decorating these gourds. This design shows three motives, cat, bird, 
and fish. There has never been any difficulty in recognizing the cat 
and bird, but in my experience few students see the fish motive in this 


1Decorative Designs of all Ages for all Purposes. London, Paris, New York, 
Toronto, and Melbourne, 1808, p. 128. 


16 


PHRUVIAN ART 


figure until their attention is called to other designs where practically 
the same form of fish is shown, but under conditions that make its true 
nature more apparent. See Figs. 1-3 on Plate IT. 

Fig. 20 is found both on cloth and pottery, in the coast region. 


*~MAN AND MYTHOLOGICAL CHARACTERS 
PLATE V 


Fig. 1 is from tapestry from Surco. 

Fig. 2 was taken from a long cotton belt from Chancay. 

Fig. 3 shows a woven tapestry design from Pachacamac. It is in 
the Tiahuanaco style and probably represents the puma god. Their 
fondness for combining different animal figures has been spoken of. 
Note near the bottom, to the right, the bird head and neck, and to the 
left of it a puma head with its ring nose. Compare this head with those 
on Plate IV, Figs. 2, 3, 4, and 9. 

Fig. 4. This conventionalized human figure is common in many 
parts of Peru. The head occupies the center of the stan and the 
arms and legs have degenerated into scrolls. 

Figs. 5-6 are painted on Nazca pottery. 

Fig. 7. In this design the man’s headdress, arms, and legs have 
turned into frets. 

Figs. 8-9 are from painted decorations on Nazca pottery. Fig. 8 
shows a face very common on vessels from that locality, especially on 
the tall, cylindrical ones. 

Fig. 10 shows a human head with feather headdress. This form of 
representing feathers is common all over the coast region. It is painted 
on a pottery vessel from Pachacamac. 

Fig. 11, also from Pachacamac pottery, needs no comment. 

Fig. 12 is woven ina web from Ancon. It shows a headdress of two 
feathers and has the ear represented in a curious way that seems to be 
peculiar to Peruvian art. We find this same ear in animal figures. See 
the puma head at the lower part of Fig. 3 on this Plate. Dr. Arthur 
Baessler has commented at some length on this subject, and styles this 
figure ‘‘a misdrawn ear.’”! 


1Ancient Peruvian Art, Ed. A. H. Keane. Description of Plates 136-139. New 
York, 1902-1903. 


Mi 


PLATE V 





MAN AND MYTHOLOGICAL CHARACTERS 


PERUVIAN ART 


Figs. 13-14 show faces painted on Nazca pottery. 

Figs. 15-17. We have here three mythological characters of the 
pre-Incan people. They occur in many localities, with such local varia- 
tions as we should naturally expect them to show. The first is part bird 
and part man; the second, part fish and part man; and the third, part 
cat and part man. They are known respectively as the condor god, the 
fish god, and the puma god. They are taken from painted representa- 
tions on pottery. Fig. 15 is from Pachacamac. Fig. 16 is common in 
the coast region, and is often represented as chasing two men in a balsa. 
Fig. 17 is from Nazca. 

Figs. 18-24 show various designs from the human head and form 
which I have copied from painted decorations on Nazca pottery. 





MISCELLANEOUS PERUVIAN DESIGNS 


19 


PLATE VI 


1) 


IMUANATI 


Y 


» 6, & S| ae aN 2 
fhm mim Mn Me MT 


| 





MISCELLANEOUS PERUVIAN DESIGNS 


PLATE VII 


FREE RFRFFEFFFE 


MISCELLANEOUS PERUVIAN DESIGNS 





PLATE VIII 






















ert 
_ 
ee 
————J 
————— I) = 
v4 OA 


= 







pe 
iS 
SS 






i 


I 











| 
: 
















TR 


ie 


A 





MISCELLANEOUS PERUVIAN DESIGNS 


BIBLIOGRAPHY 


The works named below are profusely illustrated and will be found 
useful to the student of design. They may be consulted on application 
to the librarian of the Museum. 


PERU 


BagEssLeR, ARTHUR. Ancient Peruvian Art. Berlin, 1902-1903. 
Crawrorp, M. D. C. _ Peruvian Textiles. (Anthropological Papers, American 
Museum of Natural History, Vol. 12, Part 3, 1915.) 
Peruvian Fabrics. (Anthropological Papers, American Museum of Natural 
History, Vol. 12, Part 4, 1916.) 
Meap, CHartes W. The Six Unit Design in Ancient Peruvian Cloth. (Boas 
Anniversary Volume, New York, 1906.) 
The Puma Motive in Ancient Peruvian Art. (Proceedings, International Con- 
gress of Americanists, 19th Session, Washington, 1917.) 
Conventionalized Figures in Ancient Peruvian Art. (Anthropological Papers, 
American Museum of Natural History, Vol. 12, Part 5, 1916.) 
Reiss, W., and Sttsex, A. The Necropolis of Ancon. Berlin, 1880-1887. 
Scumipt, Max. Altperuanische Gewebe. Leipzig and Berlin, 1911. 
STuse., A., Reiss, W., and Kopre., B. Kultur und Industrie Stidamerikanischer 
Volker. Berlin, 1890. 
Unie, Max. The Nazca Pottery of Ancient Peru. (Proceedings, Davenport Acad- 
emy of Sciences, Davenport, 1916.) 
Pachacamac. Report of the William Pepper, M.D., LL.D., Peruvian Expedi- 
tion of 1896. (University of Pennsylvania, Department of Archeology, 
1903.) 
WIENER, CHARLES. Peru et Bolivie. Paris, 1880. 


SOME OTHER LOCALITIES 


The books in the following list cover a wide range in the arts of 
- primitive peoples. It contains, however, but a small part of the vol- 
umes in.the Museum’s library, that will prove of great help to the student. 


AMBROSETTI, JUAN B. Antiqiiedades Calchaquies. Buenos Aires, 1902. 
Explorations Arquelégicas en la Cuidad Prehistorica de “‘La Paya.” Buenos 

Aires, 1908. 

Batrour, Henry. Evolution et Decorative Art. London, 1898. 

Boas, Franz. Decorative Art of the Indians of the North Pacific Coast. (Bulle- 
tin, American Museum of Natural History, Vol. 9, 1897.) 

Drxon, Routanp B. Basketry Designs of the Indians of Northern California. 
(Bulletin, American Museum of Natural History, Vol 17, 1902.) 

FEWKES, Jesse WauteR. Archeological Expedition to Arizona in 1895. (Seven- 
teenth Annual Report, Bureau of American Ethnology, Washington, 1898.) 


23 


Gorpon, GrorGE B. The Serpent Motive in the Ancient Art of Central America 
and Mexico. (Transactions, Department of Archeology, University of 
Pennsylvania, Vol. 1, 1904.) 

Happon, A. C. Evolution in Art. London and New York, 1902. 

Decorative Art of British New Guinea. Dublin, 1896. 

Hamiuron, Augustus. Art and Workmanship of the Maori Race in New Zealand. 
Dunedin, N. Z., 1896. 

Hotes, WittiamM H. Textile Art in its Relation to the Development of Form and 
Ornament. (Sixth Annual Report, Bureau of American Ethnology, Wash- 
ngton, 1888.) 

Pottery of the Ancient Pueblos. (Fourth Annual Report, Bureau of American 
Ethnology; Washington, 1886.) 

Ancient Art of the Province of Chiriqui. (Sixth Annual Report, Bureau of 
American Ethnology, Washington, 1888.) 

Hovuacu, Water. Culture of the Ancient Pueblos of the Upper Gila River Region, 
New Mexico and Arizona. (Bulletin 87, United States National Museum, 
1914.) 

Kocu-Grtnperc, THEeopor. Zwei Jahre unter den Indianern—Reisen in Nord- 
west-Brasilien, 1903-1905. Band 1-2. Berlin, 1908. 

.Krorser, A. L. Basket Designs of the Indians of Northwestern California. (Uni- 
versity of California, Publications in American Archeology and Ethnology, 
Vol. II, No. 4, Berkeley, 1905.) 

The Arapaho. (Bulletin, American Museum of Natural History, Vol. 18, 1902.) 
Basket Designs of the Mission Indians of California (Anthropological Papers, 
American Museum of Natural History, vol. 20, pt. 2, 1922). 

Laurer, Berruotp. The Decorative Art of the Amur Tribes. (Memoirs, Ameri- 
can Museum of Natural History, Vol. 7, 1902.) 

Lumuotrz, Cart. Decorative Art of the Huichol Indians. (Memoirs, American 
Museum of Natural History, Vol. 3, 1903.) 

Mason, Otis Turron. Indian Basketry. 2 vols. London, 1905. 

Niewenuuis, A. A. Quer Durch Borneo. Leiden, 1907. 

NoRDENSKIOLD, G. The Cliff Dwellers of the Mesa Verde. Chicago, 1892. 

SprnpEN, Herpert J. A Study of Maya Art: Its Subject Matter and Historical 
Development. (Memoirs, Peabody Museum of American Archeology and 
Ethnology, Vol. 6, Cambridge, 1913.) 

Sremven, Kart von pen. Unter den Naturvélkern Central-Brasiliens. Berlin, 
1894. : 

Serer, Epuarp. Gesammelte Abhandlungen zur Amerikanischen Sprach- und 
Alterthumskunde. 3 vols. Berlin, 1902-1908. 

Wisstpr, CuarK. Decorative Art of the Sioux Indians. (Bulletin, American 
Museum of Natural History, Vol. 18, 1902.) 

Some Protective Designs of the Dakota. (Anthropological Papers, American 
Museum of Natural History, Vol. 1, Part I, 1907.) 


24 























ban 




















thy 


FOR 











FoR 





